Construction
| Note | Interval | Degree |
|---|---|---|
| D | Root | 1 |
| F | Minor 3rd | ♭3 |
| A | Perfect 5th | 5 |
| B | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D | white | thumb (1) | little finger (5) |
| F | white | index finger (2) | middle finger (3) |
| A | white | middle finger (3) | index finger (2) |
| B | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on D, index finger (2) on F, middle finger (3) on A, little finger (5) on B.
Left hand: little finger (5) on D, middle finger (3) on F, index finger (2) on A, thumb (1) on B.
D Minor 6th Inversions
- Root positionD – F – A – B
- 1st inversion (Dm6/F)F – A – B – D
- 2nd inversion (Dm6/A)A – B – D – F
- 3rd inversion (Dm6/B)B – D – F – A
Key Signature
A chord has no key signature of its own, but the D Minor 6th is the tonic (i) chord of D Minor, which shares the signature of its relative major, F Major: 1 flat (B♭).
Order of flats
Flats are added in a fixed order — the reverse of the sharp order. Each new flat key adds the next flat on the list.
Mnemonic: Battle Ends And Down Goes Charles’ Father
Chords in the Key of D Minor
These are the triads built on each degree of D Minor:
Scales That Include the D Minor 6th
- C Major (ii)
- A Minor (iv)
- D Dorian (i)
- E Phrygian (vii)
- F Lydian (vi)
- G Mixolydian (v)
- A Aeolian (iv)
- B Locrian (iii)
Same Notes, Other Names
The notes D – F – A – B aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
D Minor 6th : Frequently Asked Questions
What is the D Minor 6th chord on piano?
What notes are in the D Minor 6th chord?
How does Dm6 differ from Dm7?
How is Dm6 used?
Is Dm6 the same as Bm7b5?
What songs use Minor 6th?
How does Dm6 differ from D6?
D Minor 6th in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | D3 F3 A3 B3 | 9 | 124 mm | none | identical | |
| Close, first inversion | F3 A3 B3 D4 | 9 | 124 mm | none | identical | |
| Close, second inversion | A3 B3 D4 F4 | 8 | 110 mm | none | identical | |
| Close, third inversion | B3 D4 F4 A4 | 10 | 138 mm | none | identical | |
| Drop 2 | A2 D3 F3 B3 | 14 | 193 mm | none | identical | |
| Drop 3 | F2 D3 A3 B3 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | D2 A2 F3 B3 | 21 | 289 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Shell, root 6 ♭3 | D2 B2 F3 | 15 | 206 mm | omits A | subset | |
| Guide tones, ♭3 and 6 | F3 B3 | 6 | 83 mm | omits D and A | subset | |
| Rootless close | F3 A3 B3 | 6 | 83 mm | omits D | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | D | D3, F3, A3, B3 | 7 | 9 | 124 mm |
| First inversion: Dm6/F | F | F3, A3, B3, D4 | 6/5 | 9 | 124 mm |
| Second inversion: Dm6/A | A | A3, B3, D4, F4 | 4/3 | 8 | 110 mm |
| Third inversion: Dm6/B | B | B3, D4, F4, A4 | 4/2 | 10 | 138 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| Dm | drops B | 1 ♭3 5 | 3 |
| Dm7 | B becomes C | 1 ♭3 5 ♭7 | 3 |
| DmMaj7 | B becomes C♯ | 1 ♭3 5 7 | 3 |
| Ddim7 | A becomes A♭ | 1 ♭3 ♭5 ♭♭7 | 3 |
| D6 | F becomes F♯ | 1 3 5 6 | 3 |
| Dm9 | B becomes C, E | 1 ♭3 5 ♭7 9 | 3 |
| D | F, B becomes F♯ | 1 3 5 | 2 |
| Ddim | A, B becomes A♭ | 1 ♭3 ♭5 | 2 |
| Dsus2 | F, B becomes E | 1 2 5 | 2 |
| Dsus4 | F, B becomes G | 1 4 5 | 2 |
| Dmaj7 | F, B becomes F♯, C♯ | 1 3 5 7 | 2 |
| D7 | F, B becomes F♯, C | 1 3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D3 | 50 | 146.83 Hz |
| F3 | 53 | 174.61 Hz |
| A3 | 57 | 220.00 Hz |
| B3 | 59 | 246.94 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {2, 5, 9, 11}
- Normal order
- [9, 11, 2, 5]
- Prime form
- (0258)
- Forte number
- 4-27
- Interval vector
- <012111>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D to F | Minor third | 3 | 3 |
| D to A | Perfect fifth | 7 | 5 |
| D to B | Major sixth | 9 | 3 |
| F to A | Major third | 4 | 4 |
| F to B | Tritone | 6 | 6 |
| A to B | Major second | 2 | 2 |
Where these facts come from
Every value on this page is derived from the note formula for a minor 6th applied to the root D, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.